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Nicely written. I like the idea of a character who, while making a living as a career criminal, retains a certain innocence. I feel that if anything is learnt it's about the character, not anything outside the film as much, which makes it a minor experience. I don't think this will stay with me long.

I really enjoyed this as a comedy, so the third-act turn into overwrought, puritanical drama was a bit of a letdown. Still, Hoskins is hilarious, and his rapport with Tyson and Coltrane in the early scenes is very entertaining. It's really a shame that Jordan feels he has to hew to the cliché that stories about prostitution have to end in grand tragedy. It sucks all the fun out of the movie. Also it's very weird seeing Lester Freamon/Big Chief Lambreaux playing an evil villain.

Hoskins does a great job, and he lays out the template in an excellent opening scene. It's a great performance all the way through, but I shouldn't minimize how great the other performances are. The film is less about George's mental state than it is about his interactions with the world, and it helps that everything is painted so vividly and the characters drawn so well. My only complaint would be that the pacing is a little off, but those are minor quibbles.

What a performance by Bob Hoskins. His character is brilliant - wide-eyed and naive, yet simultaneously edgy and dangerous, as he guides us through the purgatorial morass that is London's seedy underbelly. Despite the genre trappings and the dark subject matter, the film still manages to feel fresh, quirky and even funny. Little details, like the white rabbit and the scene with the novelty sunglasses, are really well done.

Excellent movie with some terrific characters and acting to compliment. Who knew Hoskins had such a performance in him. The cinematography sets the seedy tone for the film and the two leads seem strangely out of place with their surroundings, constantly searching for their role in the London criminal underbelly.

With its strip joints and prostitutes it could have been made in New York, but set in England it gains a sense of the ordinary and melancholy unique to British cinema, creating an exceptional film. Hoskins and Tyson are excellent, the latter, playing the titular character, sadly never starring in many features films after this. Only the inclusion of a Phil Collins era Genesis song during a montage flaws an otherwise incredible crime drama, one which feels far more real despite its genre tropes.